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Organised By: (Logos: Minimo and Vivi Film) Main Sponsor Organised by: (logos: Minimo and Vivi Film) Main sponsor: BARCE- (logos: Generalitat, Ajuntament, Media) Supported by: (Estrella Damm logo) LONA Product partners: With the collaboration of: INTER- Associated events NATIONAL Associated events Associated events: ARTS& VFX FAIR Ferran Fèlix Mascarell Balbas Art Tech Lorenzo Angeli Simeon Balabanov Pag. 14 Pag. 40 Efesto Lab. V-Ray in Character. Open Vfx. Design Masterclass. Pag. 10 Pag. 12 Pag. 42 Pag. 44 Daniel Gregoire Christian Alzmann Alvise Avati. How to be an Andrea Blasich Kirsten Bodenstedt Colin Doncaster Previs through to Final: ILM. Concept Art for VFX: animator and still be happy A Sculpture Journey for the Film Peregrine Labs. A career path Peregrine Labs. Technology for Story Telling. The ILM Art Department. Part II - Twinnigs Commercial. and Game industry and beyond. through the film industry. Yeti Masterclass. Halon Entertainment. Pag. 16 Pag. 18 Pag. 20 Pag. 46 Pag. 48 Pag. 50 Art Work by Victor Hugo Jean Michel Boublil Laurie Brugger. Framestore. Carlos y Jordi Grangel Szabolcs Horvátth Vladimir Koylazov Martin Pengelly-Phillips Ftrack. Automatik VFX. Please Look After This Bear: Studio Grangel. Digic Pictures: Rendering The Chaos Group. Collateral data: Overcoming the VFX as a storytelling medium. Paddington from Pen to Pixel. Character design masterclass. Witcher to Life. Thoughts on rendering. issues of multi-site data Pag. 22 Pag. 24 Pag. 26 Pag. 52 Pag. 54 management. Pag. 56 Exodus - Image © 2014 Twentieth Century Fox Film Corporation Job Fair Alessandro Jacomini Walt Disney Animation Studios. Lighting and Rendering the John Knoll Juan Luís Sánchez David Short Pag.62 Imaginary Worlds of Big Hero 6, ILM Double Negative A Stitch In The Timeline: Digital Making Functional Creatures. Frozen Fever and Feast. 40 years of ILM. Show talk. Costume Design And Simulation. Pag. 60 Pag. 28 Pag. 30 Pag. 32 Pag. 58 CustomeFx Creative Post-Production Studio Daniel Martínez Lara Victor Navone Tom Reed Alike: making a short with open Pixar Animation Studios. MPC. Growing Groot Guardian source tools. Inside ‘Inside Out’. of the Galaxy. Pag. 34 Pag. 36 Pag. 38 Pag. 64 Pag. 66 Pag. 68 Pag. 70 Pag. 72 Pag. 74 Pag. 76 Pag. 78 Pag. 80 Open Exhibi- Day tors Pag. 82 Pag.84 Pag.90 Product Partners Pag.94 Presentation b’Ars 2015 b’Ars started in 2014 as a meeting point for the industry of arts Ferran and visual effects (VFX) related to animation, cinema, television and video games. These are growing sectors worldwide and we want to promote them, in line with Catalonia’s ongoing strategy for the internatio- nalization of its culture. Mascarell The results of b’Ars first edition were very positive and suggest not only continuity, but promotion of new, similar initiatives. For this reason, b’Ars 2015 brings foreign and local project pre- sentations by companies and independent professionals, boosting this sector’s international exchange. Generalitat b’Ars also promotes networking with recognised experts, facilita- ting debates on major industry trends and giving Catalan compa- nies an opportunity to participate in the international markets. I invite you to actively participate, to these and other similar events. de Cata- Catalonia is able, in culture and other fields, to attract a variety of talents, through the consistent evolution of its society. We want to learn, understand, share, exchange and contribute: lunya b’Ars is a good example, and it will be even more in the future. Culture Counselor 11 VFX, Animation, Video games, TV productions, VR…: every aspect of the digital content production is in full expansion and b’Ars second edition wants to confirm its presence as a meeting point Fèlix for the general public, students and professionals. I’m am very happy to say that b’Ars first edition has surpassed everyone’s expectations and we feel now the (positive) pressure to confirm the quality of speakers and respond to the growing enthusiasm around our sector. This year’s edition will bring talents from PIXAR, ILM, DISNEY, GRANGEL Studios and all the biggest names in the business Balbas with presentations that will cover the likes of Video Games, Animation, VFX in all their aspects: from the artistic creation and design to its technical implementation. As part of our effort, we have improved b’Ars job fair, where we have a stunning participation of companies, making it one of the biggest in Europe, creating a bridge between local talent and the biggest and most successful companies around the world. b’Ars Last but not least, the part for the general public (Sunday, free entrance) this year will have workshops from Grangel Studio with Carles Burges, the greatly successful Pepon Negre and a kids-friendly presentation made by Disney’s Alessandro Jacomi- ni, where children and families will access to the VFX concepts, in a playful way. All in all, b’Ars is trying to establish in Barcelona, as one of the Direc- best Animation & VFX meeting points in the world. tor Art “A Sculpture Journey for the Film and Game industry and beyond” After graduating from The Art Center in Pasadena Christian Alzmann was hired into Industrial Light & Magic’s art de- partment. 16 years later, he is still with ILM and now a Senior Art Director. He has worked on numerous film projects inclu- ding A.I., Men in Black 2, Pirates of the Caribbean, Star Wars Episode Two: Attack of the Clones, War of the Worlds, the fourth installment of Indiana Jones, Transformers and Star Trek 2. Christian is currently working on Star Wars Episode 7: The Force Awakens and Warcraft. As a visual storyteller Christian has also illustrated book covers for Science Fiction and Fantasy novels. His clients include Harper Collins, Pen- guin Books, IDG and Future Publishing. Christian’s artwork has been featured in “Star Wars Mythmaking: Behind the Scenes of Attack of the Clones”, “Van Helsing: The Making of the Legend”, “Inside Men in Black II”, “Exposé” and “Spec- trum” 9-16. Christians personal work can be found in his book: Tales: The Art of Christian Alzmann, available on his website,www.christianalzmann.com or on Amazon. Christian Alzmann 16 17 “How to be an animator and still be happy Part II - Twinnigs Commercial” Born and bred in Rome, Alvise studied fine art at high school and at the Academy of Fine Arts. He subsequently began his career as a character animator during which he has worked on movies as King Kong, Avatar, Transformers and Avengers 2 - Age of Ultron amongst others, for the biggest companies in the industry. (Weta Digital, ILM, Double Negative, MPC, Cinesite). In 2014 he wrote/animated/directed the spec commercial Beans, which got viral on the internet. Alvise is now back at Industrial Light & Magic’s as animator; he is also freelancing as commercials Director and anima- tion Director for commercials and short films. Alvise Avati 18 19 “A Sculpture Journey for the Film and Game industry and beyond” Andrea Blasich spent the last 20 years working in the anima- tion field. He graduated from the Accademia di Belle Arti di Brera in Milan with a Master in Scenography. After few years working for theaters in Milan, Italy, he moved to Animation, which has always been his passion. The first chance to break into this field was to work for Amblimation, London, on his first feature film Balto. During the next years he worked in London, Milan and Munich and finally in 1997 his dream came true: he landed in the U.S.A. He worked as a layout artist for DreamWorks Animation as well as a sculptor. His range broadened tremendously as he worked as a sculptor for video games (Factor 5, 2K Games) as well as Feature Animation including studios such as Drea- mWorks, Bluesky, Pixar, Disney, Lucas Film and Cinderbiter. Andrea is also working on his personal sculptures and bron- zes. His work has also appeared in exhibitions at Pixar Ani- mation Studio, Cartoon Museum in San Francisco, Nucleus Gallery in Los Angeles and the Socitey of Illustrators in New York. Currently he is working as CG Sculptor and Sculptor for different Studios in San Francisco. Andrea www.andreablasichsculpture.com Blasich 20 21 “VFX as a storytelling medium” Jean-Michel attended the Academy of Art College in San Francisco where he majored in Computer Arts and Design. He spent the several years following that, working as a free- lance compositor and motion design artist in various different countries before moving to Germany. Jean-Michel has since worked on a large variety of feature films as VFX Supervisor collaborating with directors such as Anton Corbijn and Martin Zandvliet. He is now the Creative Director and VFX Supervisor of Berlin based boutique house Automatik VFX. Jean Michel Boublil 22 23 “Please Look After This Bear: Paddington from Pen to Pixel” Laurie is the Head of Rigging at Framestore London, where she has worked on many visual effects projects including Paddington, Guardians of the Galaxy and Gravity. Prior to vfx work Laurie was part of rigging teams for two UK fea- ture animations, The Tale of Despereaux (2008) and Valiant (2005). Throughout her career she has maintained a special focus on facial rigging.This year Laurie was recognized for her work on Rocket Raccoon in Guardians of the Galaxy with a Visual Effects Society nomination for Outstanding Animated Character in a Live Action Feature Motion Picture. She won the award in 2010 for Dobby in Harry Potter and the Deathly Hallows Part 1. Laurie Brugger 24 25 In 1994 they created the characters for the short film ¨The Periwig Maker¨, made using stop motion techniques and the winner of numerous awards, in addition to being nominated for an Oscar for Best Animated Short Film in 2001.
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